Looking back at early EW film reviews

By EW Staff
Updated February 24, 1995 at 05:00 AM EST

You Heard It Here First
In The Babe, John Goodman ”does a nifty impersonation of Ruth… When he runs…it’s with the Babe’s sprightly, Fred Flintstone dash.” (1992)

”Quentin Tarantino, the newcomer who wrote and directed [Reservoir Dogs], is hooked on the pleasures of cinematic game playing.” (1992)

Our Lowest Praise
Pretty Woman ”is slow, earnest, and rhythmless. Everything in it has an air of glum desperation. And yet, the movie may catch on.” (1990)

Dances With Wolves is Robinson Crusoe with a tribeful of Fridays.” (1990)

Hudson Hawk ”may be the only would-be blockbuster that’s a sprawling, dissociated mess on purpose.” (1991)

The Bodyguard ”gives us these two celebrity icons working hard to look as if they want each other. It’s like watching two statues attempting to mate.” (1992)

The Pelican Brief settles into a deadening rhythm of snoop, get chased, hide in a hotel room; snoop, get chased, hide in a hotel room.” (1993)

On What’s Eating Gilbert Grape: ”[Depp] seems to be trying to attain a state of complete emotional passivity on screen.” (1994)

On The Specialist: ”Comparison with the work of Kenneth Branagh and Emma Thompson is probably not worth discussing.” (1994)

Mum Was the Word
”By the time The Crying Game is over, you’ll never look at beauty in quite the same way.” (1992)

Blurb This!
In Made in America, Whoopi Goldberg, ”who usually seems weirdly asexual in her funk-jam hostility, has come alive as a romantic star.” (1993)

In Unforgiven, Clint Eastwood ”comes most alive when he’s pumping lead into people.” (1993)

Above the Rim‘s star, Tupac Shakur, ”may be the most dynamic young screen actor since Sean Penn.” (1994)